There is a moment in Nicholas Shakespeare’s new biography of Ian Fleming in which one of the James Bond author’s female friends, not conquests, is quoted as saying that he harbored the ambition to be “the Renaissance ideal, the Complete Man.” Shakespeare has taken the second part of this for the subtitle of his study. But how to paint the whole picture of the complete man when Fleming was, according to his last lover, “so many people,” a mass of multiple personalities and conflicting characteristics? As his biographer notes in his introduction, “It is not an exaggeration to say there were even more Ian Flemings than there are actors who have played Bond.”